What opera have you been listening to, lately?

[MAuer]

With the exception of a rather wooly-sounding Count, this recording has a wonderful cast (Bruscantini, Jurinac, Berganza, Tadeo) – and the Susanna, Teresa Stratas, is another Cincinnati Opera alumnus. She was scheduled to sing both Mimi and Musetta (in separate performances) in the CO’s 1961 La Bohème, but it appears she canceled both. However, she did return the following year to sing Mimi.

[Adrian]

Way back in time, Steber shines.....

[MAuer]

This was the first recording of Verdi’s Otello I purchased, and it has the familiar Domingo-Milnes-Levine team. Besides these three, it has another Cincinnati Opera connection in the Desdemona, Renata Scotto, who sang the title roles in Norma and Adriana Lecouvreur with the CO in the late ‘70s.

[MAuer]

I have both the audio recording of this Otello as well as the video directed by Franco Zeffirelli. In addition to Domingo, it has more Cincinnati Opera alumni in Justino Diaz (Iago), who appeared with the company during a period from 1978-1990 in which he sang the villains in Les Contes d’Hoffmann and Verdi’s Attila, Ramfis, and Amonasro; and Ezio di Cesare (Cassio), the Edmondo in the Manon Lescaut production imported to Cincinnati from the Spoleto Festival.

[MAuer]

This recording of “Cav and Pag” features quite a few Cincinnati Opera alumni. In addition to Mesdames Caballé and Scotto, there are also Matteo Manuguerra (Alfio), who sang the title role in the CO’s 1973 production of Rigoletto; Astrid Varnay (Mama Lucia), who appeared with the company in the late ‘40s as Elisabeth (Tannhäuser), Ortrud, Salome, and Isolde; and Ugo Benelli (Beppe), who sang Rossini’s Count Almaviva, Bellini’s Elvino, and Massenet’s Des Grieux with the CO from 1959-1961.
Speaking of Mme. Caballé, her husband, the tenor Bernabé Marti, appeared with the Cincinnati Opera several times between 1967 and 1972, singing Don José, the Duca di Mantova, Gualtiero (Il Pirata), Alvaro, and Calaf.

[Florestan]

Sorting through some of my Maria Stuarda sets

These two are okay:



Better


Really liking this one(Joan Sutherland, Huguette Tourangeau, Stuart Burrows, Montserrat Caballe):

[Ann Lander (sospiro)]

This recording of “Cav and Pag” features quite a few Cincinnati Opera alumni. In addition to Mesdames Caballé and Scotto, there are also Matteo Manuguerra (Alfio), who sang the title role in the CO’s 1973 production of Rigoletto; Astrid Varnay (Mama Lucia), who appeared with the company in the late ‘40s as Elisabeth (Tannhäuser), Ortrud, Salome, and Isolde; and Ugo Benelli (Beppe), who sang Rossini’s Count Almaviva, Bellini’s Elvino, and Massenet’s Des Grieux with the CO from 1959-1961.
Speaking of Mme. Caballé, her husband, the tenor Bernabé Marti, appeared with the Cincinnati Opera several times between 1967 and 1972, singing Don José, the Duca di Mantova, Gualtiero (Il Pirata), Alvaro, and Calaf.

Interesting info which I didn't know. Thanks.

[MAuer]

One of my “guilty pleasure” recordings that substitutes a tenor (Nicolai Gedda) for a mezzo in the role of Prince Charming. Besides Frederica von Stade’s delightful heroine, the cast includes Cincinnati Opera alumna Ruth Welting as the Fairy Godmother -- and she's fabulous. With the CO, she sang the title role in Lucia di Lammermoor and Rosina in Rossini’s Il Barbiere di Siviglia in 1984 and 1987.

[Ann Lander (sospiro)]

One of my “guilty pleasure” recordings that substitutes a tenor (Nicolai Gedda) for a mezzo in the role of Prince Charming. Besides Frederica von Stade’s delightful heroine, the cast includes Cincinnati Opera alumna Ruth Welting as the Fairy Godmother -- and she's fabulous. With the CO, she sang the title role in Lucia di Lammermoor and Rosina in Rossini’s Il Barbiere di Siviglia in 1984 and 1987.

It shouldn't be a 'guilty' pleasure! I think all mezzos should be substituted by tenors.

[Florestan]

It shouldn't be a 'guilty' pleasure! I think all mezzos should be substituted by tenors.

I have to disagree, but am thankful that you did not desire they be substituted by counter tenors. Eeek!

[Florestan]

[Adrian]

Another oldie.....

[Florestan]

Awesome set!

[Florestan]

[MAuer]

More Massenet, but this time it’s pleasure without the guilt, since the role of the romantic hero has been written for a tenor. Kraus is an appealing Des Grieux, and Cotrubas makes a touching Manon. There’s also a Cincinnati Opera alumnus in the cast with the Lescaut of Gino Quillico. He only appeared with the company in a couple of comprimario roles during the 1978 season, but his father, Louis, sang frequently with the CO during that decade, appearing as Rigoletto (twice), Amonasro, Scarpia, and Tony in The Most Happy Fellow.